Mämä Sykora (39), born and raised in the Säuliamt region of Zurich, pursued various projects on the subject of soccer (exhibitions, websites) while still studying journalism. He has been working for Zwölf since 2008, since 2009 as editor-in-chief. Since 2013, his TV show "Zwölf - Die Fussballbar" has also been running on SSf. On the side, he wrote the column "Steilpass" for Tages-Anzeiger/Newsnet. (Photo: Thomas Häusermann/Advertising Week)

WW: The 50th issue will be published on August 26 - will the anniversary be celebrated?
Mämä Sykora: Sure. We're having a party for everyone on September 4. In addition, a part of the magazine - albeit a rather small one - is dedicated to the anniversary.

How did the whole thing actually start?
I have not been involved from the very beginning. I got involved early on, but I'm not one of the initiators. Funnily enough, it was a group of people who all come from the biggest soccer country in Switzerland ...

Aargauer?
(laughs) No ... Graubündeners who at some point were flushed out of Graubünden and then ended up in Bern or Zurich. Gian-Andri Casutt certainly played the biggest role in launching Zwölf. He connected interested parties and raised the necessary start-up capital. It was launched in 2007 and everyone thought the big euphoria would break out with the 2008 European Championship, so it was a good time to do it.

The euphoria then remained largely absent ...
Exactly. Fortunately, Twelve hit the mark anyway.

You joined the editorial team at the seventh issue and soon "worked your way up"?
Exactly, I slept my way up pretty quickly (laughs). At the time, the editorial team was based on the second floor of my Bombay Bar in Zurich's Kreis 4 - there was always a lively exchange. So I was involved in the magazine from an early stage.

Was Twelve modeled on the German magazine 11 Freunde, or is that a cliché?
The comparison is obvious. There are similar magazines all over Europe, but 11 Freunde is by far the biggest. They also started out like us, as an independent magazine, not a fanzine in the conventional sense. 11 Freunde is considered alternative, so the comparison is logical - and in terms of distribution and popularity, it's also a role model. Even though it now belongs to a large publishing house, which certainly limits its independence somewhat.

In what way?
The topics have to be entertaining, rarely go into depth. You can see that especially in the editions that come to the big tournaments: 180 pages, of which 100 pages are advertising and the rest branded articles - to put it exaggeratedly. In short: They've already monetized it a bit, too.

Back to Twelve: After 50 issues - don't you eventually run out of topics?
In fact, the Swiss soccer market is very small. And what is our disadvantage - compared to, for example, 11 Freunde - is just the historical aspect. In Germany, everything is meticulously written down. If you were to read the chronicles of every club, you would find material for countless stories. In Switzerland, on the other hand, very little is documented; you can't find things that would actually still be there - that's why we often discover stories while researching for other stories. As long as that happens to us, I'm not worried about running out of topics. But of course it's the case that we have to look a bit, because: Super League alone has only ten teams. The number of those that attract attention and interest a large mass are relatively manageable. That's why we try not to focus on the same clubs all the time. But that's the good thing about our readership: they are just as interested in a story about FC Brüttisellen as they are about FC Basel. Sometimes even more so (laughs).

One of your core competencies seems to be data collection and analysis?
Mainly, we want to tell good stories. But it's important to us that all the key data is accurate. We are currently working with the Swiss Football League on an all-encompassing, public database on Swiss football going back to 1930. Our work is not limited to the magazine; we also do a lot of other work in the field of football and collaborate on projects.

It is noticeable, however, that you keep presenting statistics and data that no one else seems to have ...
This is not so much due to a secret database, but to the enormous effort that no one else wants to take on. For us, however, this is part and parcel of comprehensive research - everyone who works for us is a perfectionist.

Recently you calculated how the last season would have gone if there had been no wrong decisions - the story brought it to the wide media stage, so is it worth the effort after all?
This question always arises. If, for example, Blick online simply takes over a topic 1:1 and writes somewhere "as reported by Zwölf", very few people notice that it is not from Blick, but from us. You can see that in the comments below, when it says "once again typical Blick". It's always a tightrope walk between giving away content and hoping for an advertising effect.

Is Twelve still only possible because a few people have "en Egge ab", or would the product also work under "normal circumstances"?
It wouldn't work. Over time, our demands on a text have increased. If someone delivers an article and we think there's still some information missing, we expect him to look it up - even though this effort can't be paid for. Even if it is sometimes a completely exaggerated effort to find out whether XY has now made two or three games in the 70s for FC Brüttisellen. We expect that and our authors also have this expectation of themselves. Not every effort that people have for our magazine is paid in full - there's no other way. The lifeblood has to cover the rest. Even though it's extremely important to us that everyone who works for us is paid, both authors and photographers or illustrators - it's not always market rates, though.

Twelve is doing well. Apart from exceptions like Landliebe, no other print title manages to constantly increase its subscription figures ...
That is indeed special. We notice this, for example, in our kiosk neighbors: They have changed often in these eight years. Many magazines went out of business, new ones came in, these went out of business again - we're still here. So there must be something to it. But as I said, that's only possible because a lot of the work that's done is drudgery.

Have you exhausted the potential of subscribers yet?
No, there is still a lot of room for improvement. You always notice it in special campaigns. For example, if we discover something that is more Bundesliga-related, we sometimes pass it on to 11 friends. They post it somewhere and link us. The next day we have x new subscriptions. All people who knew 11 Friends, but not us. That's when you realize: there's still a lot in it.

Do you also have subscribers from abroad - not Swiss abroad, but "real" foreigners?
Yes, but only from Germany and Austria. Apparently they are interested in that (laughs). But of course there are only a few, most of them are from Switzerland. In general, however, there is still a lot of untapped potential. But it is difficult to reach this potential.

Why?
Because we put everything we earn into the magazine. There's nothing left over for marketing measures. But the scattering loss is also incredibly high. We've already done campaigns that were very costly, but had zero success.

For example?
Once, when Marc Zellweger played for Brühl, the club played St. Gallen in the Challenge League. We had an interview with Zellweger in the magazine and he was even on the cover. We thought it was worth going to this city derby and setting up a stand. The people from SC Brühl liked us, announced our stand several times over the loudspeakers. People truly snatched the free booklets out of our hands. We went with many booklets and did not come home with a single one. Result: one subscription. The effort was disproportionate to the income.

And the current promotion where you sent every subscriber an extra issue to give away?
It worked! We did the math and saw that if we could just get 50 new subscribers, the extra print run would be worth it. And it was worth it (laughs). Even though some people didn't understand the campaign at all. Some didn't even read the accompanying letter and contacted us to say they'd received two issues by mistake.

The editorial offices of Zwölf are currently located in Zurich Altstetten in an office building that can be used temporarily on favorable terms. The search is already on for the next place to live. The whole thing has a concept: "If we had to pay market rents, we wouldn't exist anymore," explains Mämä Sykora.

On the subject of newsstand sales, do you know what paid circulation depends on?
We'd love to know that, but we have no idea. We also think about the cover: Does it work on the newsstand? But it seems to have nothing to do with the cover. We once did an evaluation of what the best-selling numbers were at the newsstand. There were no conclusions about the type of cover. Symptomatically, the best-selling number in relation to the number of copies on the newsstand had a colleague of mine on the cover who was photographed from behind running out of the Letzigrund. That sold better than famous footballers on the front. We couldn't figure out what the reason was. But: We are not an extreme newsstand magazine anyway. Subscribers are more important to us, the newsstand is more of a subscription advertising tool. That's different in Germany, for example, which is more of a newsstand nation. That's why it's extremely important to 11 Freunde, for example, what they have on the cover and at which newsstands they're available. That's why there are almost only stars on the cover, often the big names. We would never have Shaqiri on the cover, that wouldn't suit us. When we had a Streller interview, Streller wasn't on the cover anyway.

What are the reasons?
Among other things, we want to set ourselves apart from the competition. In Switzerland, that's really only Eurosoccer magazine. But even that's not a competitor in the conventional sense, because they address a completely different target group. There, it's all stars, no research, and a Barnetta poster in the middle. We want to come across as different from a magazine that appeals to this target group.

Do you have any other mainstays, as is the trend in the media industry?
Our long-term goal was always to become a center of excellence for Swiss soccer. That's the obvious thing to do. Because there are so many people who do something with soccer but - without offending them - have no idea about it. They throw their money out the window and do something that doesn't work at all. So it wouldn't be bad to talk to someone in advance who has a little idea. We don't offer ourselves like an agency, but we advise a lot of companies and people or do research work, etc. We're not just a media agency. For example, if a media outlet wants to know what happened to all the U-17 world champions of all the nations, it's easier for them to ask us than if they first have to find out how to find out in the first place.

You probably enjoy a certain reputation in the sports journalism scene?
I find that difficult to judge. But we are certainly welcome and respected. Even among the footballers themselves. In the past, you've noticed that they've told us things in interviews that they wouldn't have told any other medium. Simply because we approached them differently, because we engaged them in conversation, because they realized that we didn't want to put them on the spot. Unfortunately, that has changed somewhat recently.

In what way?
It became much more difficult. That's one of our main problems. First of all, footballers today are not like they used to be, not as eager to give information, living in a kind of bubble that they leave briefly for an interview appointment and want to get back into as quickly as possible. They actually have no interest at all in talking to anyone. They are overprotective and tell much less on their own. Perhaps they also don't have as much to talk about because they are no longer as wild and fun as the earlier generations of footballers. They also experience less, are more even-tempered. Secondly, footballers are no longer allowed to say anything. Even if they tell us something spectacular, we have to submit it to a media spokesperson for proofreading and he will most likely delete it. We have to respect that if we want to maintain a good relationship with the clubs. The trend is toward overcaution.

In times of social media, shitstorms, etc., this is understandable to a certain extent ...
Still, just reading what Huggel or Smiljanić said in our interviews - that would no longer be allowed today. And that wasn't so long ago. So it's all the more pleasing when you find exceptions, like Markus Neumayr from FC Vaduz recently. Often it's those players who aren't usually interviewed like that.

You have consistently decided against online - was it a fundamental decision to dispense with all digital channels and, for example, not to offer an e-paper or a PDF edition?
Yes. Our core competence is a print magazine, and we want to keep it that way. If we were to offer additional things online - such as 11 Freunde, which has an online editorial team - that would affect the same people who actually have to write good articles for the magazine. That's why online is wishful thinking with us. It's an ongoing discussion, but we don't want it at the expense of magazine quality.

So there's a lack of resources to deploy?
First of all, there is a lack of resources and secondly, as soon as it costs something, it is ruled out in our country.

Isn't the fear of digital, unpaid distribution also the reason why no content is made available digitally?
Sure. We don't want to weaken our product; we want people to buy the magazine and enjoy a certain exclusivity. A magazine in the hand is still something different than on a tablet. Personally, I think a print product loses value if it is only presented digitally.

So do I. But whether the generation after us will see it that way is another question ...
True. Another problem for us in the future. Even in the past, many young people hardly subscribed to magazines, but I think there are far, far fewer today. The expectation that information is free is catching on. In addition, we have the problem with this generation that at some point they won't know what we're talking about. At some point, there will no longer be people who know who Heinz Hermann is.

Your expertise is becoming more and more useless?
In a certain sense (laughs). After all, we now have a young editor who calls us "80s sacks.

Okay, you get the daily news as well and you can tell them in 20 years - if you can still remember them ...
(laughs) That's how it is! But I also suspect that today's football doesn't offer as many stories as it did in the past. The wild stuff of the 60s, 70s and 80s will never happen again. If you describe Michi Lang's career 20 years from now, no one will say "What? Gross, you could do that back then?". But we have also adapted to the coming generations to a certain extent. We, who have been around since the first editions and are all about the same age, had to learn that first. Because for us it's as clear as day that people know Heinz Hermann. We used to put the names in the magazine just like that, without explanation. In discussions with younger people, we realized that they often had no idea who they were. Heinz Hermann, for example, played his last international match in 1991 - the young people of today weren't even born then. We have to take this into account. We can't just endlessly go down the retro route and exclude the youngsters right from the start. But that doesn't mean we won't dig up beautiful stories from the past in the future.

What are the concrete plans for the future? Next goal: issue 100?
The print market is notoriously difficult. When we started, the mood among advertisers was quite different. Comparatively many wanted to "be there," but we had comparatively few people who actually cared about getting the ads in (laughs). Now we have someone, but it's not getting any easier with all the competition. Print is almost a niche product itself, soccer anyway, and an alternative soccer magazine is a niche product within a niche product, so to speak. But we are very strong there and have a very well-defined, attractive target group. But the number of our potential advertisers is of course manageable. We don't even need to ask many companies because they don't do anything in the field of soccer. To make matters worse, the image of soccer has suffered in recent years and some companies no longer want anything to do with it. That's why we can already make plans for the future, discuss whether we should come out monthly or whether we want to add more value with adhesive binding - but these are all things that involve a big financial risk. Even though we're established and well-respected, it doesn't take much for us to get "gummed up" if we were to take over. So we're more like Aarau than Xamax under Chagayev ...

A relegated company with seriously managed accounts?
(laughs) Okay, let's better say Thun. In other words: We can make plans for the future, but we wouldn't be able to implement them at the moment.

So it should just continue as before?
Once we would have the certainty that we can take the next step, we are certainly not averse to change. But the next, most important goals are to reach the fallow subscribers, that is much more important for us than to appear monthly, even if many readers would wish for that. At the moment, we can't guarantee the quality at this scale.

Interview: Thomas Häusermann

The public is thus in line with the Federal Council’s position: The Federal Council proposes banning tobacco advertising on billboards, in the media, and in movie theaters. Sponsorship of events with an international focus would also be prohibited. Advertising at points of sale, in trade publications, and in customer mailings, as well as the sponsorship of national events, would continue to be permitted. In the coming weeks or months, the Federal Council will submit the Tobacco Products Act to Parliament. During the consultation process, its proposals drew criticism. The Swiss Trade Association and organizations representing the tobacco and advertising industries oppose restrictions, while prevention organizations are calling for a total ban on advertising.

53 percent in favor of a total ban on advertising

Bans appear to have majority support among the public: 53 percent favor a general ban on tobacco advertising, as the FOPH announced on Tuesday. As many as 64 percent even support a ban with an exception for points of sale. A majority of smokers also support this measure. According to the FOPH, advertising bans receive stronger support in French-speaking and Italian-speaking Switzerland than in German-speaking Switzerland. In addition, more women than men are in favor of a general ban. The public also supports higher prices, according to the Federal Office. Fifty-eight percent would welcome an increase in the price per pack from the current 8.20 francs to 9.10 francs within a year. Smokers, however, have a different opinion on this point. They clearly oppose the price increase.

Diminishing Effect of Warning Images

According to the FOPH, the 2014 monitoring report also shows that the impact of the warning labels and images on cigarette packs is diminishing. In 2014, 38 percent of respondents stated that the warnings often or occasionally prompted them to think about the harmful effects of smoking. In 2012, that figure had been 45 percent. The Federal Office of Public Health has been tracking public opinion on tobacco advertising since 2004. In its press release, it points out that tobacco advertising on billboards and in movie theaters is banned in all neighboring countries except Germany. Germany is the only country in the EU, aside from Bulgaria, where outdoor advertising for cigarettes is still permitted. However, the federal government is planning a ban. (SDA)

In June 2015, the Competition Commission (ComCo) announced that in February disclosed acquisition for 240 million Fraken in greater depth, as there were fears of a dominant position in the area of job and vehicle classified ads (Werbewoche.ch reported).

The Ricardo Group operates the online marketplace Ricardo.ch with the online shopping center Ricardoshops.ch, the vehicle platform Autoricardo.ch and the classifieds platform Olx.ch.
Tamedia sees further growth potential in Ricardo's core business, the online marketplace Ricardo.ch. It is to be further developed thanks to network effects with its own media such as 20minuten.ch. Christoph Tonini, Chairman of the Tamedia Management Board, in a statement on Tuesday: "We are pleased that the Swiss Federal Competition Commission has approved the takeover of the Ricardo Group without any restrictions. With this step, we are strengthening our e-commerce offering, creating real competition in the car market and expanding our leading position in the classifieds business."

The acquisition is expected to be completed before the end of the third quarter. At the beginning of July 2015, Tamedia already acquired the 50-percent stake of the Norwegian Schibsted Media Group in the previously jointly held subsidiaries Swiss Classified Media AG, Car4you Schweiz AG and Tutti.ch AG, which operate the classifieds platform tutti.ch and the car classifieds market car4you.ch. (hae/pd)

This much can already be revealed here: It's a campaign for Mobiliar, this year's main sponsor. And of course, three winning teams will fly to Cannes again next year to represent Switzerland at the international Young Lions competition.

Specific details on the content of the briefing can be found at the warm-up event on September 3, 2015 at 6:30 pm at the ADC Galerie in Zurich.

In addition to Mobiliar as the main sponsor, the organizer is pleased to have the support of APG/SGA Out of Home Media, Die Post, Swissfilm Association, Streuplan and Keystone. Media support for the important creative young talent competition comes from Persönlich.com and Werbewoche. In addition, the youth channel Joiz is on board again this year. The organizers are ADC Switzerland, supported by BSW Leading Swiss Agencies. The event is presented by Publicitas, official Cannes Lions representative.

There are four ADC Young Creatives Awards to be won. The three winning teams from the categories Outdoor, Cyber and Film will travel to the international "Young Lions Competition", to the advertising film festival in Cannes, where they will officially represent Switzerland next year. Last year's Young Creatives Award winners Dominique Magnusson and Kevin Zysset won gold - and thus the first medal ever for Switzerland - in Cannes in 2015 (Werbewoche.ch reported).

Registrations for the briefing event are open now at Adc.ch possible.
 

 

Walker develops new for Ifolor

Walker wins Ifolor's advertising budget. The Zurich creatives were able to prevail over the competition in a multi-stage presentation. The decisive factor for the success was a cross-platform idea, which was placed on a strong, strategic platform. Ifolor is considered one of the most renowned and largest online providers of digital photos, photo books and photo products in Europe. The Kreuzlingen-based company was founded in 1961 and has been family-owned ever since. The first results of the new collaboration will already be on display in the fall.

 

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Scholtysik & Partner: Redesign Signaletik for Uni Basel

The redesign of the Uni-CD prompts the University of Basel to create uniform signaling for its more than 70 buildings. After evaluating various design agencies, it chooses Scholtysik & Partner. The redesign of the signaling is intended to strengthen the sense of belonging across faculties and departments, increase the presence of the University of Basel in the city, and make access to the university barrier-free. Additional requirements are the application to historically significant, listed buildings and the increasing digitization of signaling elements, especially in new buildings such as the new Biozentrum.

 

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Wirz Corporate: Les Trois Rois as new client

The Grand Hotel Les Trois Rois relies on the cooperation with Wirz Corporate for its brand development. As part of the newly obtained mandate, the agency is supporting Basel's leading five-star hotel in the strategic-conceptual and operational further development of the hotel brand and its brand presence. The first results of the collaboration will be on display from 2016.

Tageswoche announced Degen's appointment on Tuesday in its editorial blog "Right in the middle" known. The new editor-in-chief of the hybrid medium launched in 2011 has been working as a journalist for 20 years. He worked for Basellandschaftliche Zeitung and 20 Minuten before moving to Coopzeitung in 2008, where he took over as editor-in-chief in 2012. Degen grew up in the Basel region. He studied German and geography in Basel. In 2014, he completed a Master's degree in "New Media Journalism" at the University of Leipzig with a thesis on Tageswoche. In it, he dealt with the topic of quality assurance in convergent editorial offices.

From 2016, Tageswoche will be managed by an editor-in-chief and managing director for the first time. At the end of June, Chairman of the Board of Directors Oscar Olano justified the new management structure with the continued implementation of the online-first strategy launched in 2013. However, the print edition, which supplements the online presence every week, will continue to be published. The merging of the two management positions resulted in a change of personnel. Managing Director Tobias Faust and Editorial Director Dani Winter had to leave Tageswoche at the end of June. The separation was by mutual agreement, it was announced at the time. Remo Leupin took over the management on an interim basis. However, Leupin will be moving to Migros Media in Zurich at the beginning of October. The Tageswoche editorial team has around 20 full-time positions. These are shared by 30 employees. (SDA)

With the message "Which career suits you? Do the career check on Zebi.ch", four different stickers were created. Coal maker, mattress tester, sun worshipper and high flyer are the newly invented professions.

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Responsible at Messe Luzern, Zebi Zentralschweizer Bildungsmesse: Rosanna Blättler (Communication Planning). Illustrations: Ludek Martschini.
 

The provisions regulate the system change from the reception fee to the radio and television levy. The amendments to the law and ordinances are expected to come into force in mid-2016, Bakom announced on Tuesday. However, the change from the reception fee to the radio and television levy will take place later, probably in mid-2018 or early 2019. Bakom justifies this with the complex preparatory work. A tender procedure will be carried out to determine the new collection agency. Once the contract has been awarded, the survey agency will have to establish itself and set up the necessary infrastructure, according to the report on the hearing. In particular, it would have to create the technical conditions to receive and process the data from the relevant authorities. A test phase is also planned.

Maximum 400 francs for households

The exact amount that households and companies will have to pay in the future also remains open. As today, the Federal Council will determine the amount. In order to ensure that the calculation is based on current data, it will only set the amount shortly before the system change, writes Bakom. The household levy is to be a maximum of CHF 400, as announced before the vote. The Federal Council will also determine the tariff categories for companies at a later date. Companies with sales of between 500,000 and 999,999 francs are expected to fall into the lowest tariff category and pay a levy of 400 francs, according to the report. Companies that fall into this tariff category will be exempt from the levy upon request if they prove that the levy would amount to more than 10 percent of their profit or that they have made a loss.

Levy for enterprise groups

Companies that are registered with the tax administration in the register of persons liable to pay VAT are subject to the tax obligation. These can be independent entities or VAT groups. An existing VAT group should also be able to merge with other controlled companies to form a business tax group, which then pays only one tax. However, it would not be possible to split up an existing VAT group solely for the purposes of the corporate levy.

Exemption from the levy only without devices

The ordinance also regulates the possibility of deregistration for a limited period. Households without devices such as radios, televisions, computers and cell phones can be exempted from the levy for five years. If no such equipment is available in a household, the requirement for exemption from the levy is met. If such a device is available, however, the household must pay - regardless of whether the device is actually used for radio and television consumption. Deaf-blind persons and diplomats do not have to pay the fee.

More money for local radio and television stations

The ordinance also regulates the details of how the surplus from reception fees, which could not be distributed in recent years, is to be used. According to the Radio and Television Act, part of this must be used for local radio and television stations. A total of 45 million Swiss francs is to be made available to the stations for training and further education as well as for the digital production and distribution of their programs. They will now only have to finance at least 20 to 30 percent of their programs themselves instead of 30 to 50 percent. The adjustment of the self-financing level is a consequence of the increase in the share of fees for the local stations. According to the new law, they will now receive 4 to 6 percent instead of the previous 4 percent. The Federal Council will probably decide next spring by how much the share of the levy will be increased within this range, writes Bakom. (SDA)

Digital out of home is thus contributing to the slight increase in advertising pressure in electronic media. TV and radio remained stable, while teletext declined slightly. There was no change in the overall market compared to the previous month. This is shown by the Goldbach Index (Gemi) figures on advertising pressure in July 2015.

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According to Goldbach, growth in the Internet segment is impressive. Since the beginning of the year, advertising pressure has increased by almost 6%, and by almost 11% compared to the same month last year. The Internet closed at a new record level for the fourth time this year. After an increase of 17 points in the previous month, it jumped from 805 to 816 points in July. Digital out of Home also developed positively last month. Following the sharp decline in April of this year, advertising pressure rose by three points in May and now by four points in July to 664 points. These two areas were responsible for the slight increase for electronic media overall by one point to 648 points.

TV remained unchanged from June at 650 points and radio at 386 points. Teletext, on the other hand, closed with a drop of one point to 46 points. Advertising pressure for the market as a whole remained unchanged at 237 points.
 

Anyone who has taken a look at a typical new Swiss apartment in recent years knows that living and dining areas are increasingly merging, and an open kitchen is almost always standard. So it's no surprise that the kitchen is increasingly becoming the center of life for many people. This has not escaped Ikea's attention either, and so this year the Swedish furniture giant is focusing on life in and around the kitchen. To find out more about people's everyday lives in the kitchen, Ikea has conducted a global study: the "Life at Home Report." The study was carried out in Stockholm, New York, London, Moscow, Paris, Berlin, Mumbai, Shanghai, Zurich and Lausanne.

Interesting findings came to light: Mr. and Mrs. Swiss enjoy cooking more than average, but their love of cooking is increasingly being crushed by everyday life. On weekends, people like to conjure up creations on the table, but during the week they often don't have the time or the leisure to do so. Not so bad, says Ikea: "We want to prove to people that even the supposedly boring daily routine can be fun in the kitchen," says Katrin Polzer of Ikea Switzerland.

Under the motto "We celebrate everyday cooking", Ikea launches a nationwide, cross-media campaign. Posters, ads, online banners, eBoards and ePannels show the unvarnished everyday life of Swiss cooks, supplemented with typical statements from the target group.

Responsible at Ikea Switzerland: Mikael Pilblad (Marketing Manager Switzerland), Katrin Polzer (External Communication Manager), Aurel Hosennen (Country PR & Communication Manager), Alexander Gligorijevic (PR Manager), Annelies Bühler (Project Leader Campaign). Responsible at Wirz: Livio Dainese, Fernando Perez (ECD), Michael Schmidt, Caspar Heuss (CD), Dominique Magnusson (AD) and Franziska Pennington (text), Stephanie Lüscher (graphic design), Petra Dreyfus, Yves Rückert, Livia Wanner, Johannes Schulmeister (consulting), Bettina Faessler (art buying), Piet Truhlar (photographer), Mel y Mel (photo production), Dynamic Frame (film production)
 

Animated GIFs always work. The world is not getting tired of GIFs. The format has been around since the early hours of the internet and seems to be more popular than ever today. In May - after what felt like 100 years - Facebook also gave in to the pressure and made the simple animation loops possible in its users' timelines. Currently, they are finally being made available to Facebook pages of companies - in a test and step-by-step process. The "Tumblr generation", whose daily bread has been animated GIFs for years, can probably only smile wearily at these "achievements".

Advertising has long since taken the moving image format to its heart. On the one hand, branded GIFs have been specifically channeled into social channels for years (for example on Marketingland.com), but also created entire campaigns based on GIFs. As early as 2011 JWT Paris for Nestlé Polo (Casemovie). Ogilvy Paris last year for Netflix (Casemovie). Or also in this country: Serranetga in spring 2015 with the interactive, GIF-based music video for Samsung. Now also Booking.com. The agency Wieden+Kennedy had a simple but appealing idea for the booking platform: "Send us your photos and our GIF artists will create funny GIFs from them." All you have to do is post a photo on Twitter with the hashtag #WingItYeah to meet. With a bit of luck, you will find your own snapshot "remixed" on URL and the Campaign page from Booking.com again. The campaign is still running, try your luck. (hae)
 

Did you win summer? Tweet your epic summer shot with #wingityeah. The best get Booking GIF-ed. http://t.co/5Gz4MH19Z5 pic.twitter.com/Y8RYWqcWXJ

- Booking.yeah (@bookingyeah) August 20, 2015

Won summer? Tweet your best vacation pic with #wingityeah & if you have, we'll GIF it. http://t.co/byCiW2iXIr pic.twitter.com/C0oLVWHXiu

- Booking.yeah (@bookingyeah) August 25, 2015

Summer. Did you wing it? Tweet your shot with #wingityeah. From tomorrow, the best get GIF-ed: http://t.co/PfCObUxZpq pic.twitter.com/cxGCORE5Bb

- Booking.yeah (@bookingyeah) August 23, 2015

.@alicetate_ We said #Wingit. You said YES. Now we've GIF-mortalized your winning summer shot. Got more? #wingityeah pic.twitter.com/Elg64yu7Lz

- Booking.yeah (@bookingyeah) August 21, 2015

.@thisfellow We said #Wingit. You said YES. Looks like you had a great summer, so we Booking GIF-ed it. #wingityeah pic.twitter.com/O52Seif8lh

- Booking.yeah (@bookingyeah) August 21, 2015

.@eattravelrock We said Wing It. You said YES. And now we've GIF-immortalized your epic shot. Got more? #wingityeah pic.twitter.com/AC6btsjedS

- Booking.yeah (@bookingyeah) August 21, 2015

.@travmonkey Your summer shot makes us want to Wing It. So we Booking GIF-ed your greatness. Got more? #wingityeah pic.twitter.com/qrzUeya8Iw

- Booking.yeah (@bookingyeah) August 21, 2015

.@atasteofkoko We're spending next summer with you! We Booking GIF-ed your great shot Got more? #wingityeah pic.twitter.com/wGCGRlj9Ro

- Booking.yeah (@bookingyeah) August 21, 2015

Lively, but clearly designed, the catalog shows which furniture and accessories make the home even cozier in autumn and winter. So it's quite possible that you almost start to look forward to the nasty season a bit when you leaf through it.

Responsible at MGB / Micasa: Marc Engelhard (Head of Marketing Communication MGB); Christoph Vogler (Head of Communication Specialty Stores); Michel Keller (Division Manager Micasa); Lukas Vasvary (Head of Communication Micasa); Marjana Hochreutener, Lea Gerber (Project Management Communication Micasa). Responsible at Leo Burnett Switzerland: Barbara Hartmann, Anna Leudolph, Vanessa Mermoud (creation), Johannes Raggio, Pablo Schencke (CD); Karin Zanghellini, Annick Engeli (consulting); Suzana Kovacevic (art buying); Susan Wittber, Hannes Kälin (realization/production); Michael Gassler (overall responsibility); photography: Raphael Zubler, Heinz Unger; Production: Mel Y Mel; Styling: Natalija Pocuca, Assistance: Ayako Sugaya, Nicole Frei; Image Editing: Felix Schregenberger.